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I figure out your point and obviously respect that but, the same way I won't comment if I subscribe or not the way you or anyone here introduces your content or the color you choose to wear and rule your choices or daily life, I believe we must be tolerant with the difference. To begin with. Words or declarations of will are not enough. People reveal their guts along their deeds, above all. Even because I think you're used to already see me to write dozens of lines over here, isn't it? Then, I guess the fact I second that venerable premise of a picture is worth a thousand words, it should be sufficient to also fit your turn trying to understand the other side. Comes to my mind when people don't make a single effort to learn the foreign idiom but are expecting we have to be fluent on theirs... LOL ; ) On the other hand, search button didn't orient me to any thread you or any other here had remembered to open on such interesting topic well expressed through a couple of words as thread's title coming from 1st video posted BTW... can you answer me why? My turn to add my two cents now : ) In my native land, we're used to resume the whole thing in a couple of words. To resume my point: sofa coach. I am eager to see your contribution to be straightforward with you as well. I am not paid as much as everyone of us guests here, but I'd sincerely appreciate to see more people to find and select content outside and address it to this community. Really. Rather than criticize who spends a few of his time, even short, to do it. Because if you don't care, you always have the option to ignore it. Don't feel too bored or constrained to do it please : -) Maybe my habit to invariably post not only one or two videos as 99% of people usually do when bother to contribute, to follow my customary deep research (I only found 13 videos this time, I'm sorry : P), may have produced your reaction? If so, I invite you to read again the 1st paragraph of this post and show a bit more recognition or even gratitude once you arrived in this page after all. Pardon my lack of modesty now, but when I perform anything I am used to leave it complete, despite the form chosen. You know what? I normally start to look for coming to these boards and only when I see none of you had the generosity to add anything substantial on subject or organized in a thread, I decide to share the product of my search. For the sake of promoting discussion in addition. As index applies besides. Disclaimer: I sincerely appreciate and don't mind at all about your words, Snowfun. I take them as useful add-on anyway. My response is more prone to be addressed to some other ones who may concur on that, though :- D

Even though many of these videos are helpful and I'd miss them if it weren't for you @Emanuel, I'm with @Snowfun on this one. It almost feels like I opened YouTube and was greeted by my 'Recommended' section. Some videos there are on point, some are random, some cover the same topic again and again. And how do I know, which are worth my time? One could spend his whole life browsing through what YouTube offers us. It's not that I don't appreciate your contribution - I really do. You keep quite a few threads afloat and try to arouse some discussion and that's awesome. But if I could ask for only one thing, this would be some sort of a short commentary. What can we expect in the video, what did you find helpful / interesting, why did you choose to share it in the first place. No need to be defensive (at least that's what I felt reading your post above), since nobody here tries to attack / offend you in any way. Cheers!

Sometimes it helps to comment on or discuss the content you introduce. Using the forum as a repository for videos which you have found (and, let’s be honest, others could find too) doesn’t develop a topic. Even providing something as simple as a justification of why you selected those particular videos would be interesting. Just my observation.

Here you go: Visit the Vimeo link to download a full res 3840x1080 Prores 422HQ file.

Not being defensive, even though seems to you and I bet for 66% others over here if so : D BTW majorities don't break my heart anyway, I confess I have a weakness for minorities... ; ) The point is we live in a selfish society. People go to YT but mind you they post their findings here? I just see many of people today coming everywhere and collect to their own benefit. It's sick. Wanna know my opinion? I write it anyway... LOL I didn't take as offense (hence my disclaimer up there), I address it merely as a point. People are too lazy to scroll the page down. Reason why many videos to worth your time as you say or bother your curiosity are always better to pretend you're not aware of their existence... LMAO People prefer to jump and comment on YT among strangers more often than I like to see. I still fuel these type of forum communities to flourish so I'd rather bring the discussions to here for some good reason. Take a look on my posting activity, my friend, I am even ashamed for the time spent so I don't see the need for words when I can avoid them. BTW "recommended" by AI, you mean? ; ) It is not the same as coming from my scrutiny, trust me, I rarely post anything randomly, well, I even take my time to choose them yet ; -) In a line: YT is a mess.

I have always found Emanuel's selection fairly thoughtful.

Yorkshire Tea. End of.

We grew up drinking PG Tips in our house but that was primarily because we loved the ads for it with the chimps in. As my preference is for builders tea, most greasy spoon cafes hit the spot, although that could also be because of the accompanýing sausage and bacon sandwiches.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work. Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa. After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts The PowerGrade At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do. Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT. The LUTs Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form. One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped. With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0. Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on. Comparisons Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

This comment here shows it up perfectly... LOL : -) https://www.youtube.com/watch?v=94f536IjqW4&lc=UgzobcK4yUmiaAuUf1V4AaABAg https://www.youtube.com/watch?v=oQmKYGqin4g

A peek for you of the first shot from the GFX 100 shoot with @BTM_Pix Edit is ongoing! This isn't "perfectly" in focus but it'll give you an idea of the kind of creamy 10bit tones from this "medium format Alexa". The dynamic range is extreme. This was shot in classic chrome. I shot a lot of F-LOG and the files are deeper than Oscar Wilde.

Here's the trailer for the second season, which is coming out very soon. For any interested NX1 users, the second season was entirely shot using the color boost trick that was posted over on the NX1 subforum.

Indeed. We live unique exciting times. People had to go to film school, buy books or work in a set to learn at distance of a click nowadays ; ) Here's more half dozen of valuable and enjoyable webpages to read on topic: https://learnaboutfilm.com/film-language/picture/colour/ http://ideas.dissolve.com/tips/how-to-use-color-in-film-50-examples-of-movie-color-palettes https://ideas.ted.com/how-color-helps-a-movie-tell-its-story/ https://www.premiumbeat.com/blog/manipulate-emotions-with-color-in-film/ https://***URL not allowed***/film-color-schemes-cinematic-color-design/ https://www.lightsfilmschool.com/blog/cinematography-color-simplicity

All arrives to youtube atm. Found the blogs: https://www.hurlbutacademy.com/colors-in-filmmaking/ https://digitalsynopsis.com/design/film-movies-color-psychology/ https://www.studiobinder.com/blog/how-to-use-color-in-film-50-examples-of-movie-color-palettes/ https://nofilmschool.com/Film-color-theory-and-color-schemes https://boords.com/blog/color-theory-in-film

After many requests, P4K2Alexa PowerGrade + LUTs coming in the next day or two. Dawn to dusk, one PowerGrade, no adjustments to the transform.

Yeah you're correct, but I already had a library of those charts from various sensors and stocks, so it made sense to keep adding to it. Plus it's also actually quite helpful to have so many samples within the colour space, rather than just a few samples right at the edges. Thanks mate! Much appreciated. Another interesting thing I found in testing is how much dynamic range the P6K actually has. According to the charts published by BMD and ARRI, when both cameras are exposed at ISO800, the Alexa has 1 stop extra range in the highlights, but approximately the same amount of stops in the shadows. In testing I found this to be pretty much spot on. I found I could expose one of the charts exactly one stop higher on the Alexa before it touched the clip point. The interesting thing is how that actually translates in real world scenarios, and what that difference looks like. Here are some crops of a scene shot on both cameras. In LogC, so the differences are visible. I matched exposure on the day using false colour, they're as close as I could get them. Probably less than 1/20th of a stop of difference in exposure. The left image is the P6K. When comparing it to the Alexa image in the middle, thats exactly what 1 stop difference in the highlights looks like in a real world situation. It's interesting to see what happens to that 1 stop difference when highlight recovery is enabled – the P6K actually retains more highlight detail. Obviously you would never actually place important image information in that range (not that you would ever do that with the Alexa either). But if you need it create a smoother roll-off in anything neutral in colour like specular highlights, clouds etc, it is possible to outperform the Alexa in highlight dynamic range... sometimes.

I recently won a Minolta MC 58mm 1.4 lens that was converted to EF mount with a Leitax adapter... for less than the cost of the adapter if I were to buy it new. As you guys probably already know, Minolta lenses do not easily adapt to EF cameras due to the difference in flange distance, but there are two lenses that will with either the Leitax or EdMika adapters... the 58mm 1.4 and the legendary "bokeh king" dream lens... the 58mm 1.2. There are other ways to adapt Minolta lenses if you're handy or want to pay someone to do it for you. In fact, I posted some frames from an adapted 35mm 1.8 a couple years ago... Unfortunately, that lens will only focus to 4 feet. It seems like there is something inside the lens that is binding it up, but I haven't been able to easily open the lens to inspect it. I was able to get a partial refund so it was worth keeping the lens. Needless to say, I was pleasantly surprised when I stumbled upon the 58mm 1.4 on eBay and ecstatic when I won the auction. On my last shooting day, I was able to take the 58mm 1.4 out for a spin. First let me say that they just don't build lenses like they used to. These old Minolta lenses are a pure joy to use. The focus ring is silky smooth... I wish there was a better adjective to describe it, but other than Takumar lenses, it's one of the smoothest focus rings I've ever used with the perfect amount of dampening. The lens is also sharper than I expected it to be... when stopped down. Wide open the lens lacks contrast, but stopped down to f/2, the image starts to come alive... contrast gets a bump and it sharpens up nicely. Here are a few frames from my test... I wish I was a better colorist to take advantage of the saturation capable with these lenses. The color separation is gorgeous, but I don't trust my eyes or my screen to really push it. Overall I found the lens to be well worth what I paid for it, but not as good as the 35mm 1.8... which is one of my favorite lenses of all time. I hear the old 55mm 1.7 kit lens is a sharper lens and since I have a mint copy in my lens collection, just collecting dust, I think I'm going to try and adapt it myself, so I can do a comparison. But as is, this 58mm 1.4 is a beautiful lens that is older than me and has stood the test of time better than I have. For 33 bucks... how could I possibly complain?! For you mirrorless users, the good news is that these beautiful and cheap Minolta lenses can be adapted with a cheap, dumb adapter. But with a little ingenuity and patience, even EF users can experience shooting with legendary Minolta glass. For a further, more in depth, discussion of Minolta lenses, I highly recommend the Rokkor Survival Guide over at the RedUser forum... https://www.reduser.net/forum/showthread.php?92246-Minolta-Rokkor-Survival-Guide If I can get the 35mm 1.8 to focus to infinity, I'll have a beautiful, two lens set for less than $150. What more can I ask for?

#millcore is a comedy web series I worked on with some friends several years ago, which we are at long last putting on the actual web. There's a lot of content coming, so I'll keep this updated as the episodes roll out. There is mild language. Hope you enjoy, and feel free to share your thoughts! This was definitely a fun and educational process. It was done with a $0 budget and mostly equipment we owned. There wasn't really a crew-- it was basically written and acted by the people on screen, and I was the crew. If I recall, there were only 2 out of 12 days where there was another person on set who wasn't acting. I shot the entirety of it on my NX1 using a couple prime lenses. We were fortunate enough to borrow lav mics and LED lights.

The problem is missing time codes in the audio files recorded by the camera. Resolve needs these to auto sync audio and image and present them as a single entity. Paul has posted a workaround here: As a general rule, if the uncompressed image and audio don't auto sync in Resolve, the compressed image won't auto sync either.

Builders tea is more an approach than an actual brand but that looks like it will do the trick

Hello! I found a way to add a 709like profile to Panasonic G9. Using the Wi-Fi connection and the LumixVideoFormats-2 application, the profile was activated, as well as cine D / cineV on Panasonic Gx 85, 709like can be saved to a custom profile. Enjoy!

The parasol push to clear the shot looks like a filming technique I could still use over 100 years later. Forceful yet slightly refined.

After many years, I found one on eBay again https://www.ebay.co.uk/itm/Wide-Screen-super-MAGNUM-Anamorphic-Lens-super-rare-1-5x-made-in-ENGLAND/254194573211?hash=item3b2f2d5f9b:g:uYAAAOSwKEhchA5h Actually, I was surprised to see myself replying this thread in 2013. I didn't' realize that at first LOL

Milk always comes AFTER. Are you one of the savages that pour milk first, then add cereal?

Yup, slimraw does the trick. Best tool for the gig. How have you found it?

Im just smiling in the dark quietly you just finished your first excercises in your homework. A lot more will come

Last but not least, here's a channel where it is possible to find a few of videos on topic: https://www.youtube.com/channel/UCTsvuq1quT9ZC_-uac6dc4Q

Indeed... https://www.flickr.com/photos/39362065@N05/ https://www.flickr.com/photos/skorver1/albums/72157629729447982/ https://www.flickr.com/photos/bomaye65/galleries/72157624929039693/ https://www.flickr.com/photos/cartierb/ There is even one group inspired by his work: https://www.flickr.com/groups/cartier-bresson/pool Cartier-Bresson's work inspired by surrealism and fine arts on the other hand : -) http://www.meetyourmood.com/2017/11/HENRI-Cartier-Bresson-icon-street-photography.html https://loeildelaphotographie.com/en/henri-cartier-bresson-china-1948-1949-i-1958-bb/

I sat through this video so you don’t have to, and I hate to be the bearer of bad news: the camera showed signs of overheating really quickly. Yes, they seem to be in a very warm climate but according to the reviewer warnings about overheating popped up within minutes. If this will be the case with the finished production copies, it will certainly not be suitable for any serious work. Ominous to say the least, especially since there are several reports about issues with the X100V as well, from overheating to misaligned focus rings. Shame on you Fujifilm.

And what tea do you, guys, enjoy drinking? Before you start making fun of me: this is a serious question, I'm genuinely interested! I much prefer tea to coffee (in fact: I don't drink it, at all) and am looking for some recommendations. And who may have better taste in tea than you, Englishmen?

Interesting. What "sets of Netflix series" have you have worked on that used easyrigs?

All horseshit and misinformation.

Indeed : ) Amazing device to be globally launched this month yet: https://www.gsmarena.com/xiaomi_mi_10_and_mi_10_pro_will_make_their_global_debut_on_march_27-news-41866.php

And the funny thing is, you COULD use the GH5 and the GH5s as your A-cam if you wanted to and it'd look fine. The argument that these cameras aren't used on major productions is so silly and really misses the point.

DaVinci Resolve 6.2 is out (lots of things, imo): https://www.blackmagicdesign.com/support/ What's new in DaVinci Resolve 16.2 Fairlight timeline editing toolset improvements. New mouse and keyboard based editing toolset. User adjustable per track scalable waveform display. Keyboard shortcut editing actions now include fade, cut, select and move. Support for alt/option dragging clips to create a clip copy. Support for pasting clips across timelines. Support for bouncing individual audio clips to files. Support for dragging audio clips to separate tracks using modifiers. Support for dragging audio clips to specific positions using modifiers. Support for converting multichannel tracks into linked groups. Support for a user preference to align audio edits to frame boundaries. Support for an action to trim all audio edits to frame boundaries. Fairlight sound library. Release of the Fairlight sound library installer for foley effects. Support for searching and displaying sound library description metadata. Effects and plugin management improvements. Automatic sorting of AU and VST audio effects into types and categories. Favorite audio plugins are now displayed at the top of the mixer plugin list. Additional immersive audio support. Support for MPEG-H bussing and monitoring in DaVinci Resolve Studio. Improved pan and balance including the ability to constrain panning. Track Index improvements. Support for the edit index in the Fairlight page. Drag selection of tracks, mute, solo and record controls in the track index. Drag and drop reordering of audio tracks in the track index. AAF import/export improvements. Support for importing AAF sequences as new tracks in an existing timeline. Support for importing AAF sequences with an offset to an existing timeline. Support for importing multichannel tracks from an AAF as linked groups. Support for broadcast wave files when exporting an embedded AAF. Support for exporting audio cross fades and fade handles in AAF files. Audio mixing improvements. Support for additional notch filters in clip EQ. Support for new FairlightFX Meters. Support for new FairlightFX LFE Filter. Fairlight Audio Editor improvements. Support for dedicated controls for panning up and down. Support for editing clip EQ. Support for copying and pasting clip EQ. Support for creating and applying presets for clip EQ. Support for adding, managing and custom mapping of plugin parameters. Support for changing relative clip levels. Support for resetting clip levels to unity. Support for editing fade shapes and deleting fades. Support for saving and recalling user defined track view presets. Support for enabling layered audio editing from the desktop audio editor. Support for choosing automation curves from the editor panel or console. Improved behavior when moving track selection with no tracks selected. Support for improved timecode entry and high frame rate timecode. Support for entering relative timecode values. Support for inserting 00 in timecode entry by using the colon key. Support for master spill on console faders. Support for finer adjustment of controls using the mouse or audio editor. Support for media left and media right selection keys. Support for a text-only labels mode. Support for a traditional Fairlight keyboard layout. Improved support for legacy Fairlight project import. Improved import of EQ, automation and fade from legacy Fairlight projects. Improved speed when importing large legacy Fairlight projects. Editing improvements. Improved performance when switching to large timelines with many tracks. Support for creating a compound clip from an in-out range in the timeline. Support for previewing timeline audio during live overwrites of video edits. Support for editing individual angles to the timeline from a multi-cam viewer. Support for updating clip duration display while editing in the cut page. Support for a change transition duration dialog. Support for viewing duration in frames or timecode format in the viewers. Support for Fusion transition templates in the edit page. Support for Fusion generator templates in the edit page. Support for timeline view options per system in collaborative projects. Media Pool improvements. Improved audio track metadata support with support for up to 24 tracks. Support for duplicated clips and timelines being placed in the source bin. Support for sorting media pool clips by date added. Support for showing synced audio filenames in the media pool list view. Support for revealing the media pool location of a clip from a smart bin. Support for a media pool context menu to duplicate clips and timelines. Support for only additional files when repeating media management copies. Color grading improvements. Multiple stability and usability improvements for collaborative projects. Support for smart filters based on keywords and people metadata tags. Support for modifying primary grade values using numerical values. Support for retaining out of range data when monitoring at video levels. Support for Fusion MediaOut name tooltips on the node graph inputs. Support for feet and frames data burn-in options. Support for disabling output sizing and blanking for individual clip renders. Scopes improvements. Support option for showing scopes at video level and data level. Support for HLG gamma when using HDR scopes. Support for highlighting the color viewer qualifier position in the scopes. Codec improvements. Support for Blackmagic RAW SDK 1.7. Support for rendering audio only timelines. Support for decoding 32 bit floating point audio. Improved support for color space and gamma when decoding H.265 clips. Support for displaying EXR codec name based on compression method. Support for overriding the color space and gamma tags in render settings. Support for RED SDK 7.2.1 and decoding clips from the Komodo camera. Support for two new parameters in the RED camera raw settings. Support for REDWideGamut Log3G10 IDT for ACES projects. Support for the Canon EOS-1D X Mark III camera. Support for decoding u-Law Audio in QuickTime clips. Support for alpha channel clips with the bypass re-encode option. Scripting, API and general improvements. Support for running the primary screen as a window in dual screen mode. Improved scripting API with the ability to close an open project. Improved scripting API to set frame rate for media pool clips. Support for new scripting functions to return ordered lists. Support for video monitoring advance and delay on the Fairlight page. Support for GPI/GPO control on the Fairlight Audio Interface. Multiple performance and stability improvements.

Beyond charts, I didn't put them side by side. But in real world testing the difference in highlight range is hard to notice in most situations. At ISO800 theres 6.5 stops above middle gray for the P4K, 6.9 on the P6K, 7.8 on the Alexa. On charts the differences are easy to see. In the real world with correct exposure anything above about 6-7 stops is into extreme highlight territory, which doesn't actually occur often in outdoor scenes. In all the P4K/Alexa sample images in this post it's only the lights in the dusk shot that are beyond 7 stops. So for most shots the extra ~0.4 stop is hard to notice. Where it would be noticeable is if you place anything important up in that range and try and bring it back, like those tests you linked to.

great work with the conversion @Juan Melara I am going to purchase it both powergrade and lut. based on your extensive tests matching the cameras, did you notice a noticeable difference between 4k and 6k in terms of DR and especially in exposure recovery? I ask because in this test there is a massive recovery gap in favor of the 6k: 4k recovery test // 6k recovery test thx in advance.

Yeah I am not a fan of the modern focus by wire lenses. I have a 35mm 1.8 but its a bit of a nightmare to focus. I much prefer the older AI or AI-S lenses.

That lowlight portrait is pretty impressive, much cleaner than my current S10 Btw I cancelled my pre-order of S20u.. I think Mi10 Pro might be my next one.

P4K2Alexa is out. Accurately match BMPCC 4K footage to the ARRI Alexa via a clean, non destructive 3x3 matrix. With none of the downsides of using a LUT. Fully editable, no clipping, no clamping, no snake oil. https://juanmelara.com.au/products/bmpcc-4k-to-alexa-powergrade-and-luts

For the low budget videographers among us: a ZOOM LENS report. On the X-T3 the Fuji zooms have problems with video shooting, including exposure stepping and focus-by-wire jumpyness that is not a problem with stills. So I thought I'd report on a recent Nikon zoom I found to work around these issues. The Nikkor AF 28-85 f3.5-4.5 (1986-1999) is a great manual zoom/manual aperture ring lens to use on the X-T3. It is extremely affordable, I picked up a clean one in a local camera shop for $50, and mounted it with the $20 fotodiox adapter. It is a full frame SLR lens. It is PARFOCAL, the focus does not stray as you zoom in & out. I found the change in brightness as you zoom to be often unnoticeable unless you are watching for it, this really surprised me. f3.5 to 4.5 is less than a stop of change, about 2/3rds of a stop? And most important, the zoom ring is smooth. Often these Nikon zooms are slightly sticky, especially when trying to turn the zoom ring very slowly for a cinematic shot. The focus ring has a good amount of smooth travel for easy manual focus. Finally, the sharpness of this lens is excellent, compares to the 18-55 fuji kit lens. With some pixel peeping I can see a little CA color fringing at the edges, which you would expect for a vintage lens without in-camera digital corrections. There is a glowing review of this lens by Ken Rockwell online. I have another Nikon zoom which is not usable (24-85mm F2.8-4) from 2001, due to a sticky zoom ring, plus a manual focus ring which has a very short travel and is difficult for fine focusing at distances nearing infinity. Some zooms may have become sticky over years of continous use, keep in mind when looking in ebay etc. Vintage SLR zooms are often very parfocal, I also have two Canon FD zooms that hold focus as well, 35-70 f4 and 70-210 f4. I used the 35-70 for 30 years on my SLR and the zoom ring is still smooth. So for $70 you can get an excellent Nikkor 3:1 full frame zoom, especially if you don't have $3000-4000 for an excellent Fujinon 3:1 Cinema zoom. I am posting here rather than in the LENS forum because the Sony & Panasonic camera zooms may not have the same issues as Fuji.

bump, this' not for the dump. @tktagmedia bought the last Andromeda and has been filming with it ever since, no time for showing up here again. One new EOSHD user contacted me with PM, wanting to sell me his camera. I asked him to put it on ebay, for a safe transaction. He did not come around to send me an answer. Nobody will sell theirs, I am sure now. 3CCD RAW glory with a stabilized Pana Leica lens, all in a legendary body. Anway, did I say bump? Bump!

fascinating, I love the little girl at 4:03, relatable 🤣

Is there not timecode both in the audio and frames. Usually i sync everything via timecode. Ah, i just looked. There's no timecode in the wav files!!! But there is in the video. Surely that's a bug and that's why resolve can't automagically do anything. If you click on a wav and put the starting TC based on the DND sequence and then Auto Sync via TC that audio will be part of the sequence and you can drag it down. cheers Paul

Use Slimraw instead to recompress the CinemaDNG to smaller file sizes. Cineform Raw is a sparsely supported and pretty much a dead format.